PS 635 






.29 
fl4265 
Copy 1 


International Copyrighted (in England, her Col- 
lies, and the United States) Edition of the 
Works of the Best Authors 






No. 410 




"AT THL MOVIL5" 




A FARCICAL NOVELTY 


z 




IN ONE SCENE 


in 


BY '; 

HAROLD B. ALLEN 


X 

o • 

X 

> 

z 


and 

JOSEPH UPPER 


w 


Copyright, 1921, by Samuel French 




PRICE, 30 CENTS 




NEW YORK 

Samuel French 

Publishei- 

28-30 West 38th Street 


LONDON ^ 
Samuel French, Ltd. 
26 Southampton Street 
Strand 



BILLETED. 

A comedy in 3 acts, by F. Tennison Jesse and H. Harwood. 4 males, 
5 females. One easy interior scene. A charming comedy, constructed 
with uncommon skill, and abounds with clever lines. Margaret Anglin's 
big success. Amateurs will find this comedy easy to produce and popular 
with all audiences. Price, 60 Cents. 

NOTHING BUT THE TRUTH. 

\ corriedy in 3 acts. By James Montgomery. 5 males. G females. Cos- 
tumes, modern. Two interior scenes. Plays 2J/' hours. 

Is it possible to tell the absolute truth— even for twenty-four hours? It is— 
;it least Bob Bennett, the hero of "Nothing But the Truth," accomplished the 
feat. The bet he made with his business partners, and the trouble he got into— 
with his partners, his friends, and his fiancee— this is the .subject of William 
Collier's tremendous comedy hit. "Nothing But the Truth" can be whole-heartedly 
recommended as one of the most sprightly, amusing and popular comedies that 
this country can boast. Price, 60 Cents. 

IN WALKED JIMMY. 

A comedy in 4 acts, by Minnie Z. Jafifa. 10 males, 3 females (although 
any number of males and females may be used as clerks, etc.). Two 
interior scenes. Costumes, modern. Plays 'lyi hours. The thing into 
which Jimmy walked was a broken-down shoe factory, when the clerks 
had all been fired, and when the proprietor was in serious contemplation 
of suicide. 

Jimmy, nothing else but plain Jimmy, would have been a mysterious figure 
had it not been for his matter-of-fact manner, his smile and his everlasting 
humanness. He put the shoe business on its feet, won the heart of the girl 
clerk, saved her erring brother from jail, escaped that place as a permanent 
boarding house himself, and foiled the villain. 

Clean, wholesome comedy with just a touch of human nature, just a dash of 
excitement and more than a little bit of true philosophy make "In Walked Jimmy" 
one of the most delightful of plays. Jimmy is full of the religion of life, the 
religion of happiness and the religion of helpfulness, and he so perrnjeates the 
atmosphere with his "religion" that everyone is happy. The spirit of optimism, 
good cheer, and hearty laughter dominates the play. There is not a dull moment 
in any of the four acts. We strongly recommend it. Price, 60 Cents. 

MARTHA BY-THE-DAY. 

An optimistic comedy in three acts, by Julie M, Lippmann, author of 
the "Martha" stories, .'j males, 5 females. Three interior scenes. Cos^ 
tume? modern. Plaj's 2^2 hours. 

It is sfltogether a gentle thing, thic play. It is full of quaint humor, old- 
fashioned, homely sentiment, the kind that people who see the play, will recall 
and chuckle over tomorrow and the next day. 

Miss Lippmann has herself adapted her very successful book for stage service, 
and in doing this has selected from her novel the most telling incidents, infectious 
comedy, and homely sentiment for the pl,ay, and the result is thoroughly delightful. 

Price, 60 Cents. 

(The Above Are Subject to Royalty When Produced) 

1 



$i 



At the Movies'' 



A FARCICAL NOVELTY 
IN ONE SCENE 



By 
HAROLD B. ALLEN 

AND 

JOSEPH UPPER 



Copyright, 1921, By SAMUEL FRENCH 



New York: 

SAMUEL FRENCH 

Publisher 

28-30 West 38th Street 



London : 

SAMUEL FRENCH, Ltd. 

26 Southampton Street 

Strand 



1^ 



j\A^^ 



©CI.0 57535 
OT 29 /92/ TMP92-008552 



CAST 

The Man in the x\isle Seat. 

Mr. Griggs, zvho has seen the picture before. 

Mrs. Griggs. 

Clarice, a devotee of the pictures. 

Nell, her cousin from up-state. 



SETTING 

Any back drop or plain curtain will serve as a 
set, as the action takes place in the subdued light, 
as in a motion picture theatre. A row of common 
chairs will serve as the seats, but if a row of regular 
theatre chairs can be procured, the realism will be 
heightened. The light, while subdued, should be 
sufficient to reveal the features of the several actors. 
The music of the piano, or piano and drums, is off 
stage, and should be at all times incidental to the 
dialogue. 



CHARACTERS 

The Man in the Aisle Seat, a middle-aged per- 
son, ordinarily well dressed. He is essentially 
a suburban type, as is evidenced by his shop- 
ping bag and numerous bundles. As this char- 
acter is developed through pantomime almost 
entirely, the details of the type must be worked 
up through the ingenuity of the actor to a great 
measure. 

Mr. Griggs, a typical, well-dressed, prosperous, 
middle-class business man, who is bored 
throughout the entire performance and who 
takes only a listless interest in the development 
of the plot of the motion picture story. 

Mrs. Griggs, of the same general class represented 
by her husband. She should be dressed either 
in a suit, or in a house dress, adapted for in- 
formal evening wear, and should wear a hat 
and rubbers and gloves. Her attitude through 
the action is in direct contrast to her husband, 
as she maintains a lively interest throughout. 

Clarice, a typical boarding school girl, about i8 
years of age, very well dressed and stylishly 
in a street suit, hat, furs, etc. 

Nell, a small-town type, neatly dressed, but not so 
stylishly as her cousin Clarice. Her costume 
should be slightly out of style to contrast to 
her more elegant cousin. 
4 



ii 



At the Movies" 



Scene: A row of chairs in any motion picture 
theatre. 

The action of the piece takes place in a row of 
chairs in a motion picture "palace" during the pres- 
entation of a five-reel picture, "The Rose of 
Romany." Any plain drop will serve as the back 
drop for the shallow stage required, as the action 
takes place in a subdued light as in a theatre. A 
row of five theatre chairs are required. The music, 
which accompanies the conversation, paralleling the 
course of the picture, should follow the story, but 
should at all times be secondary to the dialogue, it 
being introduced merely to heighten the realism of 
the scene. 

The row of chairs is empty when the action starts. 
A man, carrying a net shopping bag, filled with 
bulky parcels, and with his arms filled with other 
bundles, enters at the right, and takes the aisle seat 
at the right, placing his shopping bag under the seat 
and holding the other bundles in his lap. He wipes 
his face with his handkerchief, sighs with relief, 
and settles down to an hour and a half of enjoy- 
ment, when Mr. and Mrs. Griggs, a typical middle- 
aged couple, enter. He pilots her to the row of 
seats. 

Mrs. Griggs. It's so dark in here ... I can't 
see a thing. 

Mr. Griggs. Here you are. This is all right. 
Mrs. Griggs. (Indicating back of row) Here? 
5 



6 "AT THE MOVIES" 

Mr. Griggs. (Pushing her forivard) No. Here. 

Mrs. Griggs. I can't see a thing. (She puts her 
hand on the head of the tnan in the aisle seat) Oh, 
I beg your pardon. It's terribly dark. 

Mr. Griggs. Right in here. That's it. (He 
hands her past the man, who has to pick up his 
shopping hag, lift it out into the aisle, and then step 
out himself, clinging all the while to the other 
bundles. When Mr. and Mrs. Griggs have passed 
in, he moves back, and s'ettles himself again) 

Mrs. Griggs. Oh, George, there are two seats, 
just a little way ahead. (Indicating seats ahead) 
Don't you think . . . ? 

Mr. Griggs. No, no, this is all right. 

Mrs. Griggs. I know, but . . . Oh, do let's 
take those two. 

Mr. Griggs. (Rising) Oh, all right. 

(The man on the aisle is compelled to rise once 
more, and move his excess baggage and himself 
out into the aisle. Mr. and Mrs. Griggs start 
forward to take possession of the other two 
seats.) 

Mrs. Griggs. (Stopping short with an exclama- 
tion of disappointment) Oh, isn't that horrid. That 
young couple has taken them. (To Mr. Griggs. 
who has pointed out some other seats) No, I won't 
go any further forward. We'll just stay where 
we were. 

Mr. Griggs. But, my dear . . . (He looks 
helplessly from her to the man in the aisle seat. 
The latter is used to it, however, and once more 
moves himself and his many bundles to allow them 
to pass in) I'm sorry. Sir, I'm sure. 

The Man. 'S all right. 

Mrs. Griggs. Yes, we're awfully sorry to have 
to trouble you. (She takes the third seat from the 



"AT THE MOVIES" 7 

aisle, as Mr. Griggs takes the second) Is there 
anybody behind us? I suppose I'll have to take off 
my hat. (She does so grudgingly, and arranges her 
hair) 

(Enter Clarice and Nellie. Clarice is a board- 
ing school girl, and Nellie is her small toivn 
cousin, each about 18 years.) 

Clarice. In here, Nell, there's two. That's just 
about right, not too far front or anything. (To the 
man) Excuse us, please. 

(Again the weary occupant of the aisle seat is com- 
pelled to move, together zvith his property. 
The girls pass in.) 

Mrs. Griggs. (Who has to stand) Oh, dear. 

Clarice. (Szveetly to Mr. Griggsj Thank you. 
All right, Nell. (They take the fourth and fifth 
seats, Clarice the fourth and Nell the fifth from 
the aisle) We're just in good time. The feature 
hasn't started yet. I wonder what they're showing ? 
Oh, they're the announcements for next week — Spe- 
cial Added Attraction. Fatty Arbuckle in "Heavier 
Than Thou." Oh, I'll bet he'll be funny in that. 
"Heavier Than Thou" instead of "Holier Than 
Thou," don't you see, Nell? "Elsie Ferguson in 
Repenting at Leisure." Oh, she's wonderful, Nell. 
I just love her. You know she made a great suc- 
cess in the legitimate before she went into the pic- 
tures. There was a long article about her in the 
Weekly Flicker last week. She's married, you know. 
There was a picture of her with her husband. I've 
seen her on the stage, too. The whole class at school 
went one afternoon to see her play "Portia" . . . 
you know, in the "Merchant of Venice." It was 
a special performance. Benefit, I think. Oh, "Paul- 
ine Frederick in La Tosca, Wednesday and Thurs- 



8 "AT THE MOVIES" 

day." Oh, she ought to be good in that. It's French, 
you know, and it means ... I can't think just 
now what Tosca does mean. The something-or- 
other. 

Mrs. Griggs. (Reading) "Grace Geary in the 
Rose of Romany in Five Parts." It just seems as 
if I had seen this before. It was the Rose of Some- 
thing, but it couldn't have been this, for Grace Geary 
wasn't in it. 

Clarice. Oh, "Grace Geary in the Rose of 
Romany." I'm so glad you're going to see her, Nell. 
She is simply wonderful in emotional roles. I saw 
her last Saturday with Kensington Dreadnaught in 
"Ashes of Fate." She was wonderful. She is going 
to do serials next year for Pathe. I'm just crazy 
to see her in them. 

Nell. "The Rose of Romany, the Pride of the 
Gypsies, Grace Geary." Oh, I know I am going to 
like it. She's got such a wonderful face. (Con- 
fidentially) Is that her real hair, Clarice? 

Clarice. Yes, isn't it lovely? I just love the 
way she wears it. 

Mr. Griggs. I have seen this thing before. 

Mrs. Griggs. You have, dear. Where? 

Mr. Griggs. Oh, one day last week. After 
lunch. Had a customer on my hands and had to do 
something. 

Mrs. Griggs. Is it good, George? 

Mr. Griggs. Oh, pretty fair. I don't especially 
care for her. 

Mrs. Griggs. Oh, I think she is a dear little 
actress. (Reading) "Lord Edgemont, Earl of 
Belief air, the Last of An Old Family, Wallis Fair- 
field." 

Clarice. Wallis Fairfield. Oh, I'm so glad he's 
back again. 

Nell. (Innocently) Where's he been? 



"AT THE MOVIES" 9 

Clarice. Why, didn't you know he was almost 
killed when his automobile ran off a cliff? 

Nell. I think I saw that in a picture at the 
Wonderland Theatre at home. In the "Tiger's 
Claw," wasn't it? 

Clarice. Heavens, no. Wally Fairfield doesn't 
play in serials like that. It was on his honeymoon. 

Nell. He's married, then. 

Mrs. Griggs. "The Honorable George Dorsay, 
a friend of the Earl's, Thomas Hannibal." Oh, 
George, doesn't he look something like your Uncle 
Horace Griggs? Don't you think so? Of course, 
your uncle is an older man. He doesn't look so 
young himself, though, does he? 

Mr. Griggs. You can't tell anything about it in 
the pictures. 

Mrs. Griggs. (Weakening) But I think he does. 
The eyes . . . 

Clarice. (Reading) "Led by the Hand of Fate, 
Lord Edgemont, the Master of Bellefair, and his 
Friend, the Honorable George Dorsay, ride through 
the Wooded Paths of the Earl's Estate." 

Nell. Isn't that lovely, Clarice ? Where do you 
suppose that's taken? In England? 

Clarice. No, in Jersey probably. 

Nell. You mean in New Jersey State? 

Mrs. Griggs. They ride well, don't they, George? 
And such pretty horses ! Bays, aren't they ? That's 
what they call brown horses, isn't it? 

Mr. Griggs. Yes, yes. 

Mrs. Griggs. (Reading) "Fate in the Guise of 
a Gypsy Girl Crosses Their Paths," 

Nell. Oh, she's going to tell their fortunes. 
(Pause) I don't believe she's telling anything good, 
though, do you, Clarice? 

Mrs. Griggs. (Reading) "The Gypsy Foresees 
Dorsay's Death." Oh, this starts out awfully sad. 



lo "AT THE MOVIES" 

Mr. Griggs. You'll see she was right. It's his 
heart. 

Mrs. Griggs. Well, he doesn't look a bit strong. 
Your Uncle Horace's heart was affected, too. My, 
this man does look like him, George. 

Clarice. (Reading) "In Edgemont's Palm the 
Gypsy Reads Coming Happiness." 

Nell. He doesn't look as if he believed her, 
Clarice. Of course, she really doesn't know. 

Clarice. Oh, but they do. We had our fortunes 
told at school last Hallowe'en by a real palmist, and 
she told one of the girls that she would be married 
before the term was over, and you know she would 
have been if her people hadn't found out, and made 
her wait until she had finished school. 

(The man on the aisle loses consciousness and rests 
his head on Mr. Griggs' shoulder. Mr. Griggs 
seeks to rid himself of the burden by pushing 
the sleeping man back into his chair, but in do- 
ing so he distracts Mrs. Griggs' attention from 
the screen.) 

Mrs. Griggs. What's the matter, George? 

Mr. Griggs. The man on the aisle. 

Mrs. Griggs. (In a stage zvhisper) Has he been 
drinking? 

Nell. Oh, what beautiful horses. They're go- 
ing hunting. 

Clarice. (Reading) "Edgemont promises Dor- 
say that He will be a Father to the Latter's Only 
Son, Should Misfortune Overtake Dorsay." You 
see, Nell, he's afraid that the gypsy told the truth 
about misfortune overtaking him. You know. 

Nell. You mean when the gypsy told his for- 
tune? 



"AT THE MOVIES" ii 

(There is a lull of a moment. The piano plays a 
hunting song, and the drummer imitates the 
hoofs of horses.) 

Mrs. Griggs. (Jumping) Oh, oh, oh, I hope he 
isn't killed. 

Mr. Griggs. Sh-h-h-h. You'll wake up our friend 
here. 

Nell. Oh, Claire, do you suppose that is what 
the gypsy meant? 

Clarice. Didn't I tell you she knew? (Read- 
ing) "The Gypsy's Grim Prophecy is Fulfilled." 

(Slozv funeral music follows.) 

Nell. I like the music here, don't you? It's 
what they call a dead march, isn't it ? 

Mrs. Griggs. (Reading) "The Party Seeks the 
Aid of the Gypsies." 

Nell. Isn't that the same gypsy that told the 
fortunes ? 

Clarice. No, that's Grace Geary. 

Mrs. Griggs. Lovely large eyes, hasn't she, 
George ? 

Mr. Griggs. What's that? 

Mrs. Griggs. I say she has lovely large eyes, 
hasn't she? 

Mr. Griggs. Yes-s. 

Clarice. (Reading) "In the Daughter of the 
Gypsy Chieftain Edgemont Discovers for the First 
Time the Meaning of Love." 

Nell. But, she's a gypsy . . . 

Clarice. Oh. Donald Dundeen is playing the 
gypsy chief. He is so virile and everything. 

Nell. Isn't he, though? I think I've seen him, 
too — in something. 

Clarice. He always plays such strong char- 
acters. I love his face. It's so manly. (Reading) 



12 "AT THE MOVIES" 

"Under the Pretext of Asking Rose to Dance for 
His House Guests the Earl Invited the Gypsy Maid 
to Bellefair Manor." 

(Dance music follows, to which everyone uncon- 
sciously beats time. The man on the aisle wakes 
and watches the picture with great interest.) 

Mrs. Griggs. She dances well, doesn't she, dear? 
Very pretty and graceful. 

Mr. Griggs. Yeah. 

Mrs. Griggs. (Reading) "The Earl Seeks the 
Seclusion of the Garden to Tell Rose of His Great 
Love." 

Nell. (Raving) I love this. 

(The three tvomen sit zvrapt in the ecstasy of a 
love scene. The man on the aisle goes to sleep 
again. The music is soft and ingratiating.) 

Clarice. (Breaking the silence) "The Mar- 
riage of the Earl to the Gypsy Maid at the Parish 
Church Provides Gossip Aplenty for the Villagers." 

Nell. They're going to the church now, aren't 
they ? In the family carriage. I don't think he 
looks very happy, though, do you? 

Mrs. Griggs. This is a very pretty picture, 
George, but I don't think the marriage will be a 
happy one. Those kind never are. 

Mr. Griggs. It isn't, you'll see. 

Mrs. Griggs. (Satisfied) I knew it wouldn't be. 

Nell. Oh, he's giving her some beads. 

Clarice. Pearls, you mean. Aren't they lovely, 
though ? I love pearls. 

Nell. Oh, yes, Mrs. Graham at home has got a 
lovely string of real pearls. 

Clarice. (Reading) "The Earl Bestows On 
His Young Bride the Edgemont Pearls, the Heri- 
tage of Generations." 



"AT THE MOVIES" 13 

(The piano plays the "Rosary," and everyone is im- 
pressed by the timeliness of the music.) 

Nell. "The Rosary." We've got that on the 
Victrola at home. 

Mrs. Griggs. (Reading) "In the Months That 
Follow One After Another, Rose Learns That the 
Earl is Tiring of Her Charms." That's just what 
I said, isn't it, George, it wouldn't be happy ! 

Nell, Oh, who's that, Clarice? 

Clarice. That's the gardener. Just a minor 
role. You see he is trying to sympathize with her 
now that the Earl . . . 

Nell. She looks so sad, doesn't she? Even 
when the gardener brings her roses. 

Mrs. Griggs. There's a lot to this picture, 
George ; don't you think so ? It shows that riches 
don't bring happiness after all. (She sighs) 

Nell. Oh, what lovely dresses. 

Mrs. Griggs. (Reading) "Another Hunting 
Season Rolls Around and London Society is Again 
the Guest of Bellefair Manor." I don't see his wife 
— Rose — anywhere. Has she left him or anything? 

Mr. Griggs. You'll see in a minute. 

Mrs. Griggs. Oh, there she is in her boudoir. 
(Reading) "Goaded to Despair By the Snubs of 
the House Guests, Who Cannot Forget That She 
is a Gypsy, Rose Refuses to Play the Role of 
Hostess at Dinner On the Eve of the Hunt." Well, 
you can't really blame her, can you? Right in her 
own house, too. 

Nell. She doesn't seem very happy, does she? 
But I do like that dress. 

Clarice. No, you see . . . (Reading) "The 
Earl, After Upbraiding Her for Her Attitude To- 
ward the Guests, Leaves Her in Displeasure." 

Mrs. Griggs. He's a perfect brute, isn't he? 



14 "AT THE MOVIES" 

(Reading) "Lady Edj^^emont is Indisposed, and 
Begs to Be Excused." What a lie ! 

Nell. I don't see what he said that for, though, 
she isn't . . . 

Clarice. Don't you see, he couldn't very well 
come right out and say that she refused to come 
to dinrier, because she was angry at the way they 
had treated her. 

Nell. She's going to write a note. What a 
pretty writing desk ! 

Clarice. Oh, did I tell you that father has prom- 
ised to get me a writing desk for my room for a 
graduation present. Isn't that lovely, Nell ? 

Nell. Yes. Oh, look. 

Mrs. Griggs. (Reading) "Good-bye, forever. 
You will be happier when I am gone." 

Nell. (Simtiltaneously tvith Mrs. Griggs) 
"Good-bye, forever. You will be happier when I 
am gone. I hope you may forget and forgive. We 
will never meet again. Rose." 

Mrs. Griggs. (Continues reading) "I hope you 
will forget and forgive. We will never meet again. 
Rose." 

(Tosti's "Good-bye" is played. There is a pause.) 

Nell. She is taking her last look. What's she 
going back for? Oh. the pearls. 

Mr. Griggs. (Shrugging his shoulders) You 
never catch a woman forgetting her jewelry. 

Mrs. Griggs. Oh, of course, he'll come back 
when the bird is flown. 

Nell. The note is right in plain sight. D' you 
suppose he sees it? 

Clarice. Of course. See, he's picking it up 
now. (Reading) "Good-bye, forever. You will 
be happier when I am gone. I hope you may forget 
and forgive." 



"AT THE MOVIES" 15 

Mrs. Griggs. Serves him right. 

Nell. She'd be sorry now if she could see him. 

Clarice. What a wonderful actor, I think. So 
restrained. 

Mrs. Griggs. This is very much Hke a picture I 
saw this afternoon. Only in that the wife didn't 
leave her husband, but she was tempted to. It was 
Constance Conner, and she is so emotional. The 
husband in that is a broker or a banker, on Wall 
Street, you know, and he neglected his wife for 
business. It was a splendid picture, George, very 
clean and moral. I know you would have enjoyed 
it, George. 

Mr. Griggs. Probably. 

Clarice. (Reading) "The Passing of Remorse- 
ful Years." 

Mrs. Griggs. Well, I should think they would 
be remorseful. 

Clarice. (Continues reading) "The Earl's Sole 
Consolation for the Loss of His Wife is the Guard- 
ianship of His Late Friend's Son." 

Nell. Oh, Clarice, isn't he handsome? 

Clarice. Perfectly stunning, I think. That's 
Austin Hobbs. The Flicker says he is a potential 
star. 

Nell. The gardener is the same one who was 
there before his wife left, isn't he? 

Mrs. Griggs. Why, that young man must be 
the son of the one who was killed out hunting, you 
know, In the first part of the picture. He does look 
like his father — something — don't you think so, 
George ? 

Clarice. (Reading) "There Are Two Men 
Waiting to See You, Sir. Gypsies, I Should Say, 
Sir." 

Nell. Oh, do you suppose, Clarice . . . 

Mrs. Griggs. Likely as not, George, these gyp- 
sies are of the same tribe as the Earl's wife. 



i6 "AT THE MOVIES" 

Mr. Griggs. Of course, they are, but they don't 
know anything about him. You see they just want 
to camp on his land, on the manor, or whatever you 
call it. 

Mrs. Griggs. Oh, I see. (Reading) "In the 
Absence of the Earl, Edgar Dorsey Allows the Gyp- 
sies the Privilege of Camping on the Estate." But 
where is the Earl all this time? 

Mr. Griggs. Oh, he's away somewhere, I sup- 
pose. 

Cl.\rice. (Reading) "Lola, the Daughter of the 
Tribe, Grace Geary." 

Nell. But I don't understand. I thought Grace 
Geary was the wife. 

Clarice. She was ; but she is playing a dual part. 

Nell. Dual ? 

Cl.\rice. Yes, you see she plays both the mother 
and the daughter. Lola is the daughter of Rose 
and the Earl. 

Nell. Oh, I see. She must be a wonderful 
actress to do that. Oh, she's going to tell his for- 
tune now. 

Mrs. Griggs. It don't seem as if these gypsies do 
anything but tell fortunes. 

Mr. Griggs. She doubles pretty w^ell. 

Mrs. Grigg. (Perplexed for the moment) 
Doubles? Oh, you mean she plays both parts well. 
Yes, I think she is just fine. 

Clarice. (Reading) "Under the Witchery of 
the October JMoon Edgar Falls a Prey to the Charms 
of the Gypsy Girl." 

Mrs. Griggs. I suppose this is all going on with- 
out the Earl knowing anything about it. 

Mr. Griggs. He'll hear all about it. You'll see. 

Mrs. Griggs. Does it end happily, George? 

Mr. Griggs. Sure, they all do. 
(In the scene that follows the three ivomen watch 
zvith greatest interest the love scene on the 



"AT THE MOVIES" 17 

screen. Nell grasps her hands tightly to- 
gether and sighs deeply. Mr. Griggs picks 
his teeth, and the man on the aisle watches the 
picture pathetically.) 

Mrs. Grtggs. (Breaking the silence hv reading) 
"To-morrow I Will Ask the Earl for His Consent 
to Our Union. If He Should Refuse, I Will Leave 
All for You." I can just about expect what the 
Earl will say. 

Mr. Griggs. He comes through all right when he 
finds out who she is. 

Nell. Oh, there's the Earl now. He certainly 
does look stern. If I was Edgar, I wouldn't want 
to ask him. 

Clarice. (Reading) "Consent to Your Union 
With a Gypsy. Never!" 

Nell. Where's he going? The Earl, I mean. 

Clarice. You'll see if he isn't going to order 
the gypsies off the estate. There, see. (She reads) 
"The Earl Goes to the Gypsy Camp to Order Their 
Departure From the Manor." 

Nell. Oh, see now. My, he is mad. 

Mrs. Griggs. And he meets his own daughter 
there probably. There, I told you. See how he 
drops his cane the moment he sees her. 

Clarice. You see, he recognizes Lola as his 
daughter. (Reading) "In the Eves of Lola, the 
Wandering Gypsy Girl, the Earl Sees the Eyes of 
Rose. His Girl Wife." 

Mrs. Griggs. (Moved to tears) This is a lovely 
picture ; very touching. 

Nell. There's Edgar. Oh, he's going to con- 
sent to it. 

Clarice. Why, of course. Isn't she his own 
daughter ? 

Nell. I think it is lovely the way it came out. 

Clarice. (Reading) "Once Again the Villagers 



i8 "AT THE MOVIES" 

Flock to Their Doors to See the Carriage of the 
Earl Drive to the Parish Church, Bearing a Lovely 
Bride." 

Mrs. Griggs, It's a lovely ending, too. I won- 
der if I wore rubbers, George; do you remember? 

Mr. Griggs. You always do. 

Mrs. Griggs. I thought I did. Oh, here they 
are. (She fishes them out from under the seat in 
triumph just in time to read) "In the Twilight of 
Life the Earl Sees in the Lives of Lola and Edgar 
the Happiness of Which He Dreamed." (Pause) 
"The End." 

Clarice. Aw, "Rice Culture in Japan." Let's 
go. (She rises hastily) 

Nell. Don't you want to see it? (She gets up 
reluctantly ) 

Clarice. No, come on. 

(They go out, compelling ]\Irs. Griggs, zvho is put- 
ting on her rubbers, to rise, and the man on the 
aisle to move out laboriously. When the man 
is just settled, Mrs. Griggs speaks.) 

Mrs. Griggs. Probably this is an educational 
picture, George. Let's not stay. 
Mr. Griggs All right. 

(She puts on her hat, and he takes his from under 
the seat, and again the man on the aisle is 
obliged to surrender his seat, and allow them 
to pass. He moves back, and settles himself to 
become engrossed in the intricacies of rice cul- 
ture, when the curtain falls.) 



THE TOUCH-DOWN. 

A comedy in four acts, by Marion Short. 8 males, 6 females, but any 
number of characters can be introduced in the ensembles. Costumes mod- 
ern. One interior scene throughout the play. Time, 2^ hours. 

This play, written for the use of clever amafeurs, is the story of life in 
Siddell, a Pennsylvania co-educational college. It deals with the vicissitudes and 
final triumph of the Siddell Football Eleven, and the humorous and dramatic 
incidents connected therewith. 

"The Touch-Down" has the true varsity atmosphere, college songs are sung, 
and the piece is lively and entertaining throughout. High schools will make no 
mistake in producing this play. We strongly recommend it as a high-class and 
well-written comedy. Price, 30 Cents. 



HURRY, HURRY, HURRY. 

A comedy in three acts, by LeRoy Arnold. 5 males, 4 females. One 
interior scene. Costumes modern. Plays 2% hours. 

The story is based on the will of an eccentric aunt. It stipulates that her 
pretty niece must be affianced before she is twenty-one, and married to her 
5ance within a year-, if she is to get her spinster relative's million. Father has 
nice notions of honor and fails to tell daughter about the will, so that she may 
make her choice untrammeled by any other consideration than that of true love. 
The action all takes place in the evening the midnight of which will see her 
reach twenty-one. Time is therefore short, and it is hurry, hurry, hurry, if she 
is to become engaged and thus save her father from impending bankruptcy. 

The situations are intrinsically funny and the dialogue is sprightly. The 
characters are natural and unaffected and the action moves with a snap such as 
should be expected from its title. Price, 30 Cents. 



THE VARSITY COACH. 

A three-act play of college life, by Marion Short, specially adapted 
to performance by amateurs or high school students. 5 males, 6 females, 
but any number of boys and girls may be introduced in the action of the 
play. Two settings necessary, a college boy's room and the university 
campus. Time, about 2 hours. 

Like many another college boy, "Bob" Selby, an all-round popular college 
man, becomes possessed of the idea that athletic prowess is more to be desired 
than scholarship. He is surprised in the midst of a "spread" in his room in 
Regatta week by a visit from his aunt who is putting him through college. 
Aunt Serena, "a lady of the old school and the dearest little woman in the 
whole world," has hastened to make this visit to her adored nephew under the 
mistaken impression that he is about to receive the Fellowes prize for scholarship. 
Her grief and chagrin when she learns that instead of the prize Robert has 
received "a. pink card," which is equivalent to suspension for poor scholarship, 
gives a touch of pathos to an otherwise jolly comedy of college life. How the 
repentant Robert more than redeems himself, carries off honors at the last, and 
in the end wins Ruth, the faithful little sweetheart of the "Prom" and the class- 
room makes a story of dramatic interest and brings out very clearly certain 
phases of modern college life. There are several opportunities for the introduction 
of college songs and "stunts." Price, .^0 Cents. 

(The Above Are Subject to Royalty When Produced) 



THE RETURN OF HI JINKS. 

A comedy in four acts, by Marion Short, author of "The Varsity 
Coach," "The Touch-Down," etc. 6 males, 8 females. Costumes modern. 
One interior scene. 

This comedy is founded upon and elaborated from a farce comedy in two acts 
written by J. H. Horta, and originally produced at Tuft's College. 

Hiram Poynter Jinks, a Junior in Hoosic College (Willie Collier type), and a 
young moving picture actress (Mary Pickford type), are the leading characters in 
this lively, modern farce. 

Thomas Hodge, a Senior, envious of the popularity of Jinks, wishes to think 
■ip a scheme to throw ridicule upon him during a visit of the Hoosic Glee Club to 
jinks's home town. Jinks has obligingly acted as a one-day substitute in a 
moving picture play, in which there is a fire scene, and this gives Hodge his cue. 
He sends what seems to be a bona fide account of Jinks's heroism at a Hoosic 
fire to Jinks's home paper. Instead of repudiating his laurels as expected, Jinks 
decides to take a flyer in fame, confirms the fake story, confesses to being a hero 
and is adored by all the girls, to the chagrin and discomfiture of Hodge. Of 
course, the truth comes out at last, but Jinks is not hurt thereby, and his romance 
with Mimi Mayflower comes to a successful termination. 

This is a great comedy for amateurs. It is full of funny situations and is 
sure to please. Price, 30 Cents. 

JUNE. 

A most successful comedy-drama in four acts, by Marie Doran, author 
of "The New Co-Ed," "Tempest and Sunshine," "Dorothy's Neighbors," 
etc. 4 males, 8 females. One interior scene. Costumes modern. Plays 
2J4 hours. 

This play has a very interesting group of young people. June is an appealing 
little figure, an orphan living with her aunt. There are a number of delightful, 
life-like characters: the sorely tried, likeable Mrs. Hopkins, the amusing, haughty 
Miss Banks of the glove department, the lively Tilly and Milly, who work in the 
store, and ambitious Snoozer; Mrs. Hopkins's only son, who aspires to be Presi- 
dent of the United States, but finds his real sphere is running the local trolley 
car. The play is simplicity itself in the telling of an every-day story, and the 
scenic requirements call for only one set, a room in the boarding house of Mrs. 
Hopkins, while an opportunity is afforded to introduce any number of extra 
characters. Musical numbers may be introduced, if desired. Price, 30 Cents. 

TEMPEST AND SUNSHINE. 

A comedy drama in four acts, by Marie Doran. 5 males and 3 females. 
One exterior and three interior scenes. Plays about 2 hours. 

Every school girl has revelled in the sweet simplicity and gentleness of the 
characters interwoven in the charms that Mary J. Holmes commands in her 
story of "Tempest and Sunshine." We can strongly recommend this play as one 
of the best plays for high school production published in recent years. 

Price, 30 Cents. 

(The Above Are Subject to Royalty When Produced) 



THE REJUVENATION OF AUNT MARY. 

The famous comedy in three acts, by Anne Warner. 7 males, % 
females. Three ulterior scenes. Costumes modern. Plays 2% hours. 

This is a genuinely funny comedy with splendid parts for "Aunt Mary," 
"Jack," her lively nephew; "Lucinda,"" a New England ancient maid of all work; 
"Jack's" three chums; the Girl "Jack" loves; "Joshua," Aunt Mary's hired 
man, etc. 

"Aunt Mary" was -played by May Robson in New York and on tour for over 
two years, and it is sure to be a big success wherever produced. We strongly 
recommend it. , Price, 60 Cents. 

MRS. BUMSTEAD-LEIGH. 

A pleasing comedy, in three acts, by Harry James Smith, author of 
"The Tailor-Made Man." 6 males, 6 females. One interior scene. Cos- 
tumes modern. Plays 2J4 hours. 

Mr. Smith chose foi< his initial comedy the ccmplications arising from the 
endeavors of a social climber to land herself in thealtitude peopled by hyphenated 
names— a theme permitting innumerable complications, according to the spirit of 
the writer. , -.r t- , 

This most successful comedy was toured for several season? by Mrs. hiske 
with enormous success. Price, 60 Cents. 

MRS. TEMPLE'S TELEGRAM. 

A most successful farce in three acts, by Frank Wyatt and William 
Morris. 5 males, 4 females. One interior scene stands throughout the 
three acts. Costumes modern. Plays 21/^ hours. 

"Mrs. Temple's Telegram" is a sprightly farce in which there is an abund- 
ance of fun without any taint of impropriety or any element of offence. A 
noticed by Sir Walter Scott, "Oh, what a tangled web we weave when first w 
practice to deceive!" ^ , , , 

There is not a dull moment in the entire farce, and from the time the curtam 
rises until it makes the final drop the fun is fast and furious. A very exceptional 
farce. Price, 60 Cents. 

THE NEW CO-ED. 

A comedy in four acts, by Marie Doran, author of "Tempest and 
Sunshine," etc. Characters, 4 males, 7 females, though any number of 
boys and girls can be introduced in the action of the play._ One interior 
and one exterior scene, but can be easily played in one interior scene. 
Costumes modern. Time, about 2 hours. 

The theme of this play is the coming of a new student to the college, her 
reception by the scholars, her trials and final triumph. 

There are three especially good girls' parts, Letty, Madge and Estelle, but 
the others have plenty to do. "Punch" Doolittle and George Washington Watts, 
a gentleman of color, are two particularly good comedy characters. We can 
strongly recommend "The New Co-Ed" to high schools and amateurs. 

Price, 30 Cents. 

(The Above Are Subject to Royalty When Produced) 

2 



f 



LIBRARY OF CONGRESS 




i 



016 102 161 1 $ 

DOROTHY'S NEIGHBORS- 

A brand new comedy in four acts, bj'^ Marie Doran, author of "The 

A^ew Co-Ed," "Tempest and Sunshine," and many other successful plays. 

^' 4 males, 7 females. The scenes are extremely easy to arrange ; two plain 

interiors and one exterior, a garden, or, if necessary, the two interiors 

will answer. Costumes modern. Plays 2^/2 hours. 

The story is about vocational training, a subject now widely discussed; also, 
the distribution of large wealth. 

Back of the comedy situation and snappy dialogue there is good logic and 
ound moral in this pretty play, which is worthy the attention of the experi- 
enced amateur. It is a clean, wholesome play, particularly suited to high school 
production. Price, 30 Cents. 

MISS SOMEBODY ELSE. " 

A modern play in four acts by Marion Short, author of "The Touch- 
down," etc. 6 males, 10 females. Two interior scenes. Costumes mod- 
ern. Plays 2^4 hours. 

This delightful comedy has gripping dramatic moments, unusual character 
types, a striking and original plot and is essentially modern in theme and treat- 
ment. The story concerns the adventures of Constance Darcy, a multi-million- 
aire's young daughter. Constance embarks on a trip to find a young man who 
had been in her father's employ and had stolen a large sum of money. She 
almost succeeds, when suddenly all traces of the young man are lost, ^t this 
point she meets some old friends who are living in almost want and, in order to 
assist them through motives benevolent, she determines to sink her own aristo- 
cratic personality in that of a refined but humble little Irish waitress with the 
lamily that are in want. She not only carries her scheme to success in assisting 
' he family, but finds romance and much tense and lively adventure during the 
, eriod of her incognito, aside from capturing the young man who had defrauded . 41 
-f^ier father. The story is full of bright comedy lines and dramatic situations and W 
"is highly recommended for amateur production. This is one of the best come- 
dies we have ever offered with a large number of female characters. The dialogue 
is bright and the play is full of action from start to finish; not a dull moment in 
it. This is a great comedy for high schools and colleges, and the wholesome 
story will please the parents and teachers. We strongly recommend it. 

Price, 30 Cents. 



PURPLE AND FINE LINEN. 

An exceptionally pretty comedy of Puritan New England, in three 
acts, by Amita B. Fairgrieve and Helena Miller. 9 male, 5 female char- 
acters. ' 

This is the Lend A Hand Smith College prize play. It is an admirable play 
tor amateurs, is rich in character portrayal of varied types and is not too difficult 
while thoroughlv pleasing. Price. 30 Cents. 

\ ' 

(The Above Are Subject to Royalty When Produced) 



LIBRftRY OF CONGRESS 



016 102 161 1 



